Worringer’s classic study argues that in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them Wilhelm Worringer’s landmark study in the interpretation of modern art, first. Our investigations proceed from the presupposition that the work of art, as an autonomous organism, stands beside nature on equal terms and, in it. Abstraction and Empathy: A Contribution to the Psychology of Style [Wilhelm Worringer] on *FREE* shipping on qualifying offers. Reprint of.
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Every style represented the maximum bestowal of happiness for the humanity that created it. Thus the various gradations of the feeling about the world can be gauged from the stylistic evolution of art, as well as from the theogony of the peoples.
Be the first to ask a question about Abstraction and Empathy. Now what are the psychic presuppositions for the urge to abstraction? Veronica rated it liked it Jan 02, Essay in the Psychology of Style and remains his best-known work. Tormented by the entangled inter-relationship and flux wlihelm the phenomena of the outer world, such peoples were dominated by an immense need for tranquillity.
Abstraction and Empathy: A Contribution to the Psychology of Style
His claim that “we sense ourselves in the forms of a work of art” led to a formula, “The aesthetic sense is an objectivized sense of the self. Hulmehis ideas were influential in the development of early British modernismespecially Vorticism. It’s a great read! We might describe this state as an immense spiritual dread of space, […].
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His second book, Form in the Gothic expanded on ideas in the concluding abstrzction of his first book. Around this time, his interest in avant-garde art began to wane as his interest in German philosophy waxed.
from Abstraction and Empathy – Wilhelm Worringer
Peter Collins rated it liked it Dec 07, Natural beauty is on no account to be regarded as a condition of the work of art, despite the fact that in the course of evolution it seems to have become a valuable element in the work of art, and to some extent indeed positively wilhel, with it. This book is not yet featured on Listopia.
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Life as such is felt to be a disturbance of aesthetic enjoyment. Hilton Kramer s introduction considers the influence of Worringer s thesis and places his worrinter in historical context.
Europe’s avant-garde in the Rhineland. It would be a history of the feeling about the world and, as such, would stand alongside the history of religion as its equal. We shall endeavour to cast light wolhelm the antithetic relation of empathy and abstraction, by first characterizing the concept of empathy in a few broad strokes.
Wilhelm Worringer – Wikipedia
Want to Read Currently Reading Read. David rated it it was amazing Jan 25, In a word, life is activity. Michaela rated it it was amazing Aug 08, A causal connection must therefore exist between primitive culture and the highest, purest dmpathy art-form. It is endeavour or volition in motion. Hilton Kramer is editor of The New Criterion.
Comparison with the physical dread of open places, a pathological condition emptahy which certain people are prone, will perhaps better explain what we mean by this spiritual dread of space. Inhe married Marta Schmitz, a friend of his sister Emmy, who became known as an artist under her married name of Marta Worringer. Wilheml studied art history in Freiburg, Berlin, and Munich before moving to Bern, where he got his Ph.
Conrad Leibel rated it really liked it Jun 26, Starting from the notion that beauty derives from our sense of being able to identify with an object, Worringer argues that representational wilhelj produces satisfaction from our objectified delight in the self, reflecting a confidence in the world as it is as in Renaissance art. But wjlhelm a “We therefore put forward the proposition: Lists with This Book. American Visual Propaganda in Occupied Germanypp.